The Mapleson Memoirs, 1848-1888 Volume Ii Part 19

At Manchester, which is a great musical centre, our receipts the first week were miserable. But with the commencement of our second and last week they gradually increased, until there was not standing room. I endeavoured in vain to buy off another Company in order to continue our success.

Again, in Glasgow, where our old triumphs had been evidently forgotten, we played to most miserable receipts until the second week, when gradually the business grew until we had to refuse money. In fact, I had to re-take the theatre, and return there a fortnight afterwards, when on my last performance of _Il Flauto Magico_ people were paying 10s. for standing room, while private boxes fetched London prices.

We next moved on to Birmingham, where my sole consolation was the admirable articles, making over a column in each of the daily papers, which appeared the morning after each representation, according the most unstinted praise to my really excellent performances. We afterwards left for Brighton, where we closed up just before Christmas.

Very early in the following month I started my Spring concert tour, visiting some forty cities in as many days, and meeting with great artistic success in every place we stopped at. My party consisted of Mdme. Nordica, Mdme. Marie Engle, Mdme. Helene Hastreiter, and Mdlle.

Louise Dotti; likewise Signori Runcio, Del Puente, and Vetta, with M.

Jaquinot as solo violinist. No more excellent artistic party could have been put together; but here, again, the provincial public, not knowing my singers, attended with great caution; preferring old names to the young voices I had with me.

In Liverpool, as well as in Bradford, both said to be great musical centres (?), the receipts were nil.

We finished up in Dublin, where, as usual, the houses were crowded with large and appreciative audiences. The Irish, thoroughly understanding music, and judging for themselves, crammed the hall, and encored every piece.

In England, as a rule, singers take some years to acquire a reputation; but having once got it, they can never get rid of it.

I recollect hearing Mr. Braham sing when he was 82; and he was applauded. We are a conservative nation, and value old friends as we do old port wine.

Both on the Continent and in America I have been frequently interrogated as to why the London opera season is held at a time when it is next to impossible for so many patrons and supporters of music to attend on account of the numberless _fetes_, flower shows, b.a.l.l.s, garden parties, races, &c., that are taking place; to say nothing of the Crystal Palace, the Alexandra Palace, and (as regards the present season of 1888) the Irish, Danish, and Italian Exhibitions.

I, of course, could make no reply, being fully aware that alike in France, Spain, Austria, Germany, Italy, Russia, America, etc., the opera season begins generally about the third week in October; at a time when all outdoor attractions have ended. In the countries above mentioned dances and b.a.l.l.s are, it is true, given during the winter months, whereas in London these social gatherings generally take place when the weather is extremely hot; and, as a rule, the smaller the house the greater the number of the guests invited.

In former times the London season was set by the opera; and its beginning usually coincided with the arrival of the singers from abroad, who in those days had to cross in sailing vessels, and would only come in fine weather.

Returning to London in the latter part of February, I decided on opening the Royal Italian Opera early in March; for which purpose I formed an admirable Company, consisting in the prima donna department of Mdlle.

Alma Fohstrom, Mdlle. Emma Nevada, Mdlle. Jenny Broch, Mdlle. Marie Engle, Mdlle. Lilian Nordica, Mdlle. Louise Dotti, Mdlle. Helene Hastreiter, Mdlle. Borghi, Mdlle. Bauermeister, Mdme. Lablache, Mdlle.

Rosina Isidor, and Mdme. Minnie Hauk; my tenors being Signor Ravelli, M.

Caylus, and Signor Garulli; my baritones Signor Padilla, Signor Del Puente, and M. Lherie; with Signor Miranda, Signor Vetta, Signor de Vaschetti, and Signor Foli as ba.s.ses, Signor Ciampi as buffo, and Signor Logheder as musical conductor--in which capacity he proved most efficient. I moreover introduced two danseuses of remarkable excellence, Mdlle. Dell'Era and Mdlle. Hayten; both of whom must have left a favourable impression.

The novelties I produced were _Leila_ (Bizet's _Pecheurs de Perles_); and Gounod's _Mirella_, for the first time since twenty-five years. Thus _Mirella_ was practically a new opera. Both works were newly mounted, and both made their mark artistically.

But the season being a short one, and having no spare capital, I could not resort to my old _Faust_ and _Carmen_ plan and hammer the music of _Leila_ into people's heads. Consequently my production of the work did not meet with the financial success it should have done. The day will, however, come when it will form an attractive gem in the operatic crown.

_Leila_ is readily accepted all over the Continent; and even in Italy has been the mainstay of some twelve or fourteen opera-houses. Here, unfortunately, at its first production, many of the Pressmen were absent; and at its repet.i.tion no further notice was taken of it--though numbers of the public rely entirely upon what the newspapers say for their opinions and views.

The same fate awaited Gounod's _Mirella_--another most charming opera, in which Mdlle. Nevada sang to perfection.

The season continued for upwards of eight weeks, and was a p.r.o.nounced success, both artistically and financially. It terminated about the middle of May. As I knew that London would be full of strangers on account of Her Majesty's Jubilee, I rented Her Majesty's Theatre, and on taking possession of it discovered it to be in a most desolate state.

There was not a scene or a rope in working order, and the interior of the theatre was in a most deplorable condition, entailing upon me considerable expense for cleaning and restoring, painting, papering, carpeting, etc. There was nearly a mile of corridors and staircases to whiten, paper, paint, and carpet.

I opened a fortnight afterwards, when I again brought forward a powerful Company, including such valuable new-comers as Mdlle. Lilli Lehmann, Mdme. Trebelli (after an absence of eight years), and Mdlle. Oselio.

The season commenced most auspiciously on Sat.u.r.day, June 4. But soon there was a difficulty with the orchestra, for there were now two other Italian Operas going on. It was impossible to induce the players I had engaged to attend rehearsals. There were Philharmonic, Richter, and other concerts in full swing; and although I paid them weekly salaries I could never command the services of my musicians for rehearsal, even though I closed my theatre at night for the purpose. I therefore had to suspend the representations for a week and form another orchestra, in order that I might sufficiently rehea.r.s.e Boito's _Mefistofele_, which I had then in preparation. Ultimately I succeeded in bringing out that work, when, as on its first performance, it met with considerable success. This was followed by the _rentree_ of Mdlle. Lilli Lehmann in Beethoven's _Fidelio_, which was probably the grandest and most perfect performance given in London for many years. In the meantime I placed Bizet's masterpiece, _Leila_, in rehearsal.

About this time the Royal Jubilee excitement began, followed by extremely hot weather; and notwithstanding the brilliant performances given the house was empty nightly, the public preferring the free show they got out of doors, in the shape of processions, illuminations, etc., to performances at the theatre, where the temperature was now averaging 90, notwithstanding all I did to keep it cool.

In fact, the only receipts I got for the purpose of paying my way were from the letting of the exterior of my theatre instead of the interior; seats on the roof fetching 1 apiece, whilst windows were let for 40.

These receipts helped to provide the sinews of war for carrying on my arduous enterprise.

I now bestirred myself in order to obtain some attraction that would replenish the depleted operatic chest. My efforts seemed rewarded when I secured the services of Mdme. Adelina Patti, at the small salary of 650 per night. Mdme. Patti in due course made her first appearance at Her Majesty's Theatre in her favourite role of "Violetta" in _La Traviata_, when there was 1,000 in the house. My hopes, however, of recouping my heavy losses were dashed almost instantly to the ground.

Mdme. Patti having accepted an invitation from a wealthy banker for a trip up the river, to be followed by a dinner, she took a violent cold, from having been placed in a draught with a light muslin dress on. The next evening Mdlle. Lilli Lehmann again made the old theatre ring with her magnificent impersonation of "Fidelio." The house, however, was nearly empty, all attention being directed to the next night, which was to be Patti's second appearance--in _Il Barbiere di Siviglia_.

At five o'clock, however, on the evening of the performance, Signor Nicolini came in to inform me that Patti was too ill to sing, but that I might rely upon her services the following Sat.u.r.day, when she would appear as "Margherita" in Faust, transferring the _Barbiere_ performance to the following Tuesday. He himself added to the programme an announcement to the effect that she would introduce in the lesson scene the valse from _Romeo and Juliet_.

It being too late to subst.i.tute another opera, I had no alternative but to close the theatre that evening, leaving hundreds of carriage folks who had sent their coachmen home to get away as best they could, disappointed, and declaring (in many cases) that there was no reliance to be placed on Mapleson!

On the following Friday, finding that the booking for the second Patti night was very light, the public having lost all confidence, as is generally the case after a disappointment, I suggested to Mdme. Patti and to Nicolini that a small allowance ought to be made towards the vast expenses I had incurred (rent, salaries to artists, band, chorus, &c.) while keeping the theatre closed, which her incautiousness of the previous Sunday up the Thames had alone prevented me from opening.

The following day Signor Nicolini offered to contribute a sum of 50. I replied that that would be scarcely enough for the orchestra, and that the entire representation would be jeopardized. He thereupon went home, stating that Mdme. Patti would not sing that evening unless the orchestra was duly secured.

I immediately made arrangements with my orchestra, and notified the fact to Mdme. Patti by half-past three o'clock through her agent at her hotel, who, after seeing her, informed me that it was all right. She was then lying down in view of the evening performance, for which her dresses had already been looked out by herself and her maid.

Just as I was leaving the hotel Mr. Abbey came downstairs, and accompanied me to the ticket-office, adjoining the theatre, the proprietors of which were large speculators for the occasion. On ascertaining that some four or five hundred of the best seats had not been disposed of--the public naturally holding back until Mdme. Patti should have made her reappearance after the disappointment they had experienced--Mr. Abbey informed me that Mdme. Patti should not sing that evening. I may here mention that the full 650, being the amount of her honorarium, was already deposited to her credit at the bank, so that it was not on the score of money matters that her services were refused.

I waited until eight o'clock for the arrival of Mdme. Patti, her room being prepared for her; but no message was sent, nor any notification whatever, that she was not coming down. After the previous disappointments the public had met with I could not find heart to close the theatre. I, therefore, informed the numbers who were then getting out of their carriages and gradually filling the grand vestibule that I would perform the opera of _Carmen_, and that I invited all present to attend as my guests; adding that their money would be returned to them on presentation of their tickets. This, of course, it was.

As to the gratuitous representation of _Carmen_ (with Trebelli in the princ.i.p.al part), it went off admirably. The audience was numerous and enthusiastic; and among the distinguished persons who honoured me with their presence, was, I remember, H.R.H. the d.u.c.h.ess of Edinburgh.

I wrote to Mdme. Patti the following day, entreating her not further to disappoint the public, and to stand by the announcement Signor Nicolini had given me of her appearance the following Tuesday in _Il Barbiere_.

To this I had no reply; and I afterwards learned that Mdme. Patti had gone off by a special morning train to Wales, to avoid meeting the chorus and _employes_ who, hearing of her probable flight, had a.s.sembled in large bodies at Paddington to give her a manifestation of their disapprobation.

I was now placed in a most difficult position, and left to struggle on as best I could, having some three weeks' rent still to pay for the use of the theatre until the end of the month; together with the salaries of singers, choristers, bill-posters, supernumeraries, orchestra, etc., etc. These unfortunate people were actually following me in the street, clamouring for money. There were, moreover, some sixty Italian choristers, whose travelling expenses had to be provided for to send them home to Italy. In fact the Opera Colonnade had become a regular Babel, and it was only by dint of hard work amongst my numerous friends that I was enabled to collect funds and see the last of my chorus singers depart.

This affair threw me into contact with several supernumeraries as well as bill-board men, and I was very much interested to hear their different histories. One man, who had been a "Sandwich," gave me the following account of his life:--

THE "SANDWICH'S" STORY.

"I was formerly," he said, "a captain in the---- Regiment, and many a time have I paid my six guineas for a box at your Opera, both in Edinburgh and in London. Subsequently I began to take a great interest in the turf, and soon met with heavy losses, which compelled me to give various promissory notes. This at last came to the knowledge of my colonel, who recommended me to leave the regiment without delay. Having nothing to live upon, and being a fair performer on the cornet a piston, I joined a travelling circus, and ultimately came across your Opera Company in Philadelphia, where I was one of your stage band. Later on I joined a party who were bound for the diamond fields in South Africa, where I was most unsuccessful; and I had to work my pa.s.sage home in a sailing ship, till I got to London, where I became a supernumerary under your management at Drury Lane.

"During your third season an aunt of mine died, and I found myself the possessor of 10,000. My cousin, who was largely interested in building operations, which he a.s.sured me paid him at least 60 per cent., induced me to place half my fortune in his speculations. His houses were in the west part of London, which had been considerably overbuilt; and being mortgaged they would have been lost but for my paying away the remainder of my fortune with the view of saving them. In spite of this the mortgagee foreclosed, and I again became a supernumerary, when, in the mimic fight in the second act of _Trovatore_, one of my companions by mere accident with a point of a spear put my eye out.

"I was now no longer qualified for engagement even as a supernumerary, and I became a 'sandwich' man. My duties during the last four and a half years have been to parade Bond Street and Regent Street, receiving as payment ninepence a day."

On my handing the poor man his salary and settling up he at first declined to take the money, saying that I had done him so many kindnesses at different periods of his life that now, when I was in trouble myself, he could not think of taking his week's pay. I, however, not only insisted upon his accepting it, but gave him a sovereign for himself. The unfortunate gentleman, as he showed himself to the last, went away blessing me.

CHAPTER XVI.

MASTER AND MAN--"DON GIOVANNI" CENTENARY--MOZART AND PARNELL--BURSTING OF "GILDA"--COLONEL STRACEY AND THE DEMONS--THE HAWK'S MOUNTAIN FLIGHT--AMBITIOUS STUDENTS AND INDIGENT PROFESSORS--A SCHOOL FOR OPERA--ANGLICIZED FOREIGNERS--ITALIANIZED ENGLISHMEN.

Although an operatic impresario cannot reasonably count on making his own fortune, it is often a source of satisfaction to him to reflect that he in his lavish expenditure makes the fortune of singers, officials, and various people in his service. At the time when I was in my greatest trouble through the disappointments I had to put up with from some of my leading singers, I heard that an enterprising Italian who had been employed by me for many years had taken the New York Academy of Music for a brief season, and that he was actually performing the duties of manager.

Angelo was, or rather is, a very remarkable man. I engaged him many years ago as my servant at 10s. a week, and he is now said to be in possession of some thousands or even tens of thousands of pounds, which he gained while in my service by turning his opportunities and his talents to ingenious account. Angelo is well known in the United States, chiefly by the unwashed condition of his linen. Reversing the custom by which, in England and America, gentlemen who cannot trust their memory to keep appointments write with a black pencil the time and place on one of their wrist-bands, Angelo used to write on his wrist-band, as nearly as possible black, with a piece of white chalk which, primarily with a view to billiards, he used to carry in his pocket. I mention this as an example of his p.r.o.neness to imitation, and also of his economical habits.

How, it will be asked, did he ama.s.s a fortune in my service when I was paying him only at the rate of 10s. a week?